Carmen Lundy In Top Form At Hartford Artists Collective

Chuck Obuchowski

Carmen Lundy beamed as she strode onstage at Hartford's Artists Collective Saturday. Her trio was already in full swing while she greeted the audience with sing-song hellos and a thunderous thank you to Collective Director Dollie McLean.

Lundy's sassy original, "The Out Crowd," found the 55-year-old vocalist in top form. She debuted the piece on last year's one-woman-band recording "Solamente," but her studio arrangement paled in comparison to the inspired interaction of Saturday's ensemble version.

Hartford seems to hold a special place in Lundy's heart. She fondly recalled coming to the city for gigs during the 1980s when she was living in New York. Perhaps those nostalgic recollections were what prompted her to revisit a couple of songs she'd covered on her first two recordings.

"Easy to Love" benefited from a sterling solo by pianist Anthony Wonsey, a frequent Lundy associate during the past decade.

"The Lamp Is Low," originally heard on Lundy's 1985 debut, "Good Morning Kiss," featured one of her only scat-singing forays of the evening, as well as some incredibly low notes to accentuate the song's lyrics. Regardless of her vocal approach, Lundy displayed an unfailing ability to tap into the emotional essence of each song she presented.

This effect was especially striking during another original, "Show Me a Sign," written in memory of her mother. Lundy's delivery shifted from near-tearful angst to gospel-infused gratitude. On "Better Luck Next Time," the singer courted both anger and desire with her highly charged hornlike vocalese.

Her impressive vocal range and willingness to experiment assured that the Los Angeles based singer's repertoire, no matter how familiar, exuded freshness. In fact, she slipped some brand new material into her set, along with older favorites.

Lundy's originality stands in marked contrast to the throngs of female vocalists currently tripping over one another in their quest to reexamine the Great American Songbook. Even when she delved into standards territory, Lundy offered her listeners wider parameters. She welcomed the season with "It's Autumn," but stretched syllables gleefully, much in the manner of Betty Carter. On another tune, she employed soulful shouts worthy of Aretha Franklin. In both cases, however, the result was purely Carmen Lundy.

Bassist Darryl Hall, a Philadelphia native who now makes his home in Paris, didn't take the spotlight often, but his supporting role revealed a real affinity with the leader's artistic directions.

Twenty-two-year-old drummer Jamison Ross may have been unknown to most, but he proved to be the trio's secret sonic weapon. Like Lundy, Ross was born and raised in Florida; also like her, many of his earliest musical experiences occurred in church. Those gospel roots probably account for the rootsy quality of his playing. He also performed with great subtlety on brushes, a trait obviously of benefit to a singer, especially during ballads. His solo on the closing "In Love Again" never descended into the kind of grandstanding that too often characterizes drum features. Rather, he contrasted the sounds of his kit, focusing primarily on the high-hat cymbal and the bass drum.

The Artists Collective will present percussionist Poncho Sanchez and his Latin Jazz Band on Sunday, October 24 at 7 p.m. For details, call 860-527-3205, or visit http://www.artistscollective.org. Advance tickets may be purchased at the Artists Collective, 1200 Albany Avenue in Hartford.